In my musical training, I was lucky enough to have little or no separation between performing a repertoire and performing it. While the ideology which led to this held that a good performance can only be achieved through a level of understanding of the music in question and its background, I believe the opposite is also true - without issues pertaining to performance, our understanding of music is bound to be problematic.My research, therefore, often links musicological discipline and techniques with performing questions such as meaning, expressivity, the practicalities of music-making, and its consumption as a social product. Most of my musicological work to date is centered on late medieval music, more often than not in the French style, but my interests range much further afield and to cover the entire period of music I perform, as well as the history of its modern study, the public perception of music both 'classical' and 'popular', and the intersection these two strands throughout history.

On a less ideological note: I have huge respect for words, I like numbers, but notes are my most instinctive and clearest language. I love notation, and was lucky enough to be able to indulge in this through much editing and transcription work. I am very keen, therefore, to examine the changing practicalities and ideologies of notation, and its relationship with sounding music. This work also led me to the close study of primary sources and their production.In this section of my website you can find a description of my thesis, and subsequent projects I took part in; a publication and papers list, including projects I'm still working on; my teaching activities, with obvious cross-over with the section on teaching in the 'Music' section, and finally, another link between study and performance, namely my concentrated effort to integrate more specifically tailored performances into scientific conferences, both musicological and otherwise.